There's certain moments where this shows its age a little bit, with Hard and Lemonade making use of some samples I remember from 2019-2020 Alice Longyu Gao or 100 Gecs around that same time. But overall I really enjoyed this album! The ending note feels very satisfying and the opening is strong. I think the only weak point is L.O.V.E, which is a bit too experimental for my taste.

This feels much more synth-y than their first album to me, which I enjoy. In a way, the synth and reverb-laden vocals make this album feel much older than it really is, like the only thing separating it from the early goth of the 1980s is the recording quality being substantially better on Belaya Polosa.

Extremely relaxing and chill, and I think the point is to be unobtrusive rather than attention-grabbing. I enjoy the depth of the tracks, compared to some other lofi artists that can be on the thin side. Also, this album helped me get through a good chunk of my college career, which adds a rosy color to each relisten.

An incredibly unique and interesting project, though the Let's Play series is locked behind Luke's Patreon. I think think one of the greatest strengths of this album lies in its musical diversity and the influence that it has on his following album Songs to Make Songs to. Some of the songs are great references to moments in Sekiro but they're great beyond that as well, especially O'Rin of the Water.

I've listened to Mother Mother for awhile, though not intensively, long before they blew up on TikTok. And, honestly, I think this album is fine but maybe not what I would've hoped for with some of the more innovative and confessional work they put out in the past. I suppose I found this album to be a bit similar to the more harmony-driven pop-rock of the Beatles or the Orion Experience. Middle of the road for me.

I listened to this on launch day and caught the release stream. It's such an interesting album and one that is made better by the interesting directions that Luke is able to pursue since going solo. I think it also strikes a good balance as an album with personal stories that speak to a broader experience that other people can relate to.

When I first heard about this album it was mostly through the first track, It's Okay To Cry, which gave me a very different expectation for the album than it turned out to be. That's hardly a bad thing, though! The glitch elements in the later songs are really nice and the general deconstruction felt like a fun take on hyperpop that is less explosive but no less interesting for it.

Death with Dignity was my standout song from this album when I first encountered Sufjan Stevens 10 or so years ago. Listening to the first disc now I'm struck by the impact of Stevens minimalism. I felt like this was only one step away from being a spoken poetry album in the best way possible.

Disc two's list of demos and alts gives an interesting look at alternative versions of the main album. I especially like the different takes on Death with Dignity and Wallowa Lake Monster, ... read more

It's not necessarily bad, but my listen of it felt very thin. I found this to be especially true with the opening track and it makes me wonder if some of the rest of the songs are carried by their featured artists.

More approachable than their earlier work, but I don't think that's necessarily a bad thing (though others might). I think yeule's sound tempered with emo-esque lyrics makes a really nice change to both the genre and her style. Overall a great album, one I'd love to add to my vinyl collection.

I kept up with the singles for this album, which made listening to it especially interesting compared to other albums that I come to only once they're complete. I really enjoy Alice's sound on this one but it is also interesting as a means of seeing how fast paced language evolution can be. More introspective than her earlier work, which I think is an interesting thing for hyperpop to explore more explicitly.

A pretty good aesthetic album, though some of the repetition started to get to me near the end. I feel as though this is something I would put on in the background while hanging out since the vibes are really pleasant

There is something about the timelessness that Bjork is able to create with her music that makes it last after so much time has passed. I think the only thing that kind of dates it and takes me a little out of the music is how up-front and coarse the vocals feel on a lot of the tracks. It made me feel, occasionally, like I would like to hear the instrumentals without her voice.

I listened to this album while writing an essay about going to record stores and staying out late while avoiding going back to my childhood home and I think that this is the kind of headspace that the album promotes: at once nostalgic and introspective. A weighted blanket of an album

Coming to an album late makes it hard to write about, but that sense of futility feels at home while listening to Giles Corey so long after it came out. While The Haunting Presence unsettled me to listen to, I found that the tracks further down the album were haunting but not nearly as shaking as the moment of shouting in the opening track; something about the way that it broke the usual conceit of a recording really got to me.

I've mostly been ranking whole albums but this spoken word track is a stand out single. The contrast between the music and the chilly delivery of lines from Kristen Stewart. It's disorienting in the way that one might feel driving on the road late at night with danger and anxiety mounting on an unchanging road.

Gritty and droning in the best way. Buahaus' early album sounds like intonations towards a dark new rock that they would be the pioneers of. A truly classic goth rock album

Gave me some hyperpop vibes and the synthy ps1-ps2 era sounds were nice as well. Overall, though, a very short album, which is better than one that overstays its welcome

The intro track to this album establishes a tone that the rest of the album cannot possibly sustain. It's an interesting and experimental track that blends classical melodies that invoke love with some modern production, only to blend into Parachute, which features bit-crushed moaning. The country-tinted tracks also prove a confusing trend, as does the Louane feature. Overall, this feels a bit like a "look how worldly I am" kind of project. Not offensively bad, but not cohesive ... read more

Relaxing and more traditional than I expected. The Gaelic Book of Days was especially a stand out for me listening to the remastered version.